This presentation of fine paintings celebrates the unique talent each artist owns. Despite the diversity of styles and subject matter, the exhibition holds together well as each participating artist is an excellent colourist. The works on display seem to celebrate the use of colour in all its facets; natural and arbitrary, complimentary and analogous, transparent and opaque, rich impasto and whisper washes.

Adrian Lockhart offers contemplative studies of still life subjects in either cool blues with a touch of warm white, or sepia and brown tones. His well balanced compositions involve unrelated objects (bowl, bottle, egg, fruit) selected, one assumes, for their simple curves. Some paintings depict the artist's own small quick sketches of the nude. These linear 'drawings' compliment the rounded volume of the objects. The simplicity of the subjects, the flawless surfaces and tonal play of hue, work together to create serene fields for meditation.

Nick Howson's work also provides gentle viewing, albeit there seems to be more a sense of wonder then contemplation in his compositions. Translucent colour is distributed around the surface to construct a patchwork of shapes and forms in perfect harmony. Familiar objects and animals; a tree, a building, a bird, or a silo may suggest a narrative but we react more to the pattern then to any implied landscape or statement. Although these images appear to be 'naive', the composition and application of the oil medium testifies to the artist's command of his artform. Lest We Forget is a warm, strong salute to a proud land while The Single Man's Hut is an inviting place to visit. Also very much appreciated is this artist's delightful, hand coloured lithographs.

Gemma Lynch-Memory's large lush paintings are composed of thick oil paint spread on the canvas in broad horizontal bands. Colours of the top and bottom panels set a mood while the central block suggests a narrative. The artist adeptly captures the sense of endless vistas during the cool of dusk (Erode) or the heat of the desert at noon (Spectrum VI). Her works have a powerful visual impact, not only because of size but for their interesting texture and mark making. One can't help feeling the large exhibit Aqua, with its central band activated by a plethora of cursive brush marks in a variety of blues, may not be a playful seascape but rather an amplification of a microscopic drop of water with all it's amoebic activity.

Ian Van Wieringen also offers large, textural landscapes, albeit with a different mood. Round About Margaret River has a touch of Heysen about it. There is no attempt to imitate the past master, rather an ability to capture the same sense of the spirit of the bush in this work. Meanwhile Ghosts of the Ghost Gums takes us on an alternative track. Here the bold white trees twist and turn in the pale sunlight to suggest aspects of the human figure. Look closely and you might catch a glimpse of nymphs dancing through golden summers in the bush.

This is an excellent exhibition of fine art. Different exhibits stretch the mind and the imagination while satisfying the aesthetic. The various styles connect yet bounce off each other to provide exciting viewing.